(1) One again and again finds Stieglitz expressing views that are found in Hartmann's early essays on art and photography and often expressing them in much the same language. Seligman's Alfred Stieglitz Talking contains much that can be traced back to such essays as Hartmann's 'The Fiat-Iron Building.' This is not to say that Stieglitz necessarily borrowed an aesthetic from Hartmann. Probably they both had many similar ideas. But it has struck us that it would be an interesting area for exploration. (2) The bibliography at the back of our essay may be handy, although it includes only essays on photography or art essays in photographic journals, and there were many more essays by Hartmann on art. (3) We have made a number of minor changes in our final mss. of the introduction to The Valiant Knights of Daguerre at the suggestion of Beaumont Newhall. None of them are substantive, however. (5) Hartmann had faded out of the Stieglitz scene by about 1912. Men such as Stanton MacDonald Wright who joined that circle later say he was never mentioned very often and question that he influenced Stieglitz very much. At least this is what Wright wrote us. The problem is such« that the old-timers such as Joseph Keiley apparently left little record of those years and so Hartmann's influence has been vastly underrated. (6) We have an early 1897 review by Hartmann of Robert Henri's work, and some later reviews. We also have an 1894 letter to Hartmann from A. B. Davies in which Davies says that Henri wants Hartmann to visit him when he gets back to Philadelphia. We haven't found any Henri letters, but there are letters in the Hartmann collection from the 1894 period from Davies, F. D. Marsh, Lewis Kronberg, and other artists of the period. Hartmann is clearly in touch with their work, and some of the letters were written from Paris to Hartmann in Boston. For Hartmann's interest in some of these figures see his The Art Critic, published in Boston from 1893-94, and his art News, published in New York, 1896-97.

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